Search Results

Creator:

National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2018-10-17T19:29:31.000Z

YouTube Category:

Education  Search this

Topic:

American History  Search this

See more by:

SmithsonianAmHistory

Data Source:

National Museum of American History

YouTube Channel:

SmithsonianAmHistory

EDAN-URL:

edanmdm:yt_KRnTFiXkNFw

Creator:

National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2022-04-12T13:42:24.000Z

YouTube Category:

Education  Search this

Topic:

American History  Search this

See more by:

SmithsonianAmHistory

Data Source:

National Museum of American History

YouTube Channel:

SmithsonianAmHistory

EDAN-URL:

edanmdm:yt_Pd6Rgrlbrxw

Creator:

Lemelson Center, National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2015-03-16T22:18:35.000Z

YouTube Category:

Education  Search this

Topic:

American History  Search this

See more by:

LemelsonCenter

Data Source:

Lemelson Center, National Museum of American History

YouTube Channel:

LemelsonCenter

EDAN-URL:

edanmdm:yt_B64cOgmu8MM

Maker:

Volta Laboratory Associates  Search this

Physical Description:

wax (overall material)

Measurements:

overall: 4 1/4 in x 1/2 in; 10.795 cm x 1.27 cm

Object Name:

Phonorecord

sound recording

Place Made:

United States: District of Columbia, Washington

Date made:

circa 1880s-1890s

Credit Line:

Gift of Alexander Graham Bell

ID Number:

ME.287778

Accession number:

57694

Catalog number:

287778

See more items in:

Work and Industry: Mechanisms

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a6-c716-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_853023

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2016-09-24T21:47:47.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_QAb8hgLtkWw

Creator:

National Museum of American History (U.S.). Division of Community Life  Search this

Century Recording Studios.  Search this

Dodd, Ed, 1902-1991 (cartoonist)  Search this

Dodd, Rosemary Wood  Search this

Elliott, Tom  Search this

Names:

Roberts, Peter.  Search this

Trail, Mark (fictional character)  Search this

Extent:

0.3 Cubic feet (10 items)

Television program:Videotape cassette.

Master copies:Vinyl sound discs, 10" diam., 33-1/3 r.p.m.

User copies: Audiotapes, open-reel, 7", 7-1/2 ips.

Type:

Collection descriptions

Archival materials

Videotapes

Audiotapes

Phonograph records

Date:

before 1985

Scope and Contents note:

Videotapes: Interview with Dodd, 31:58 running time; and copy of television program, "The Well-Traveled Trail."

6 phonograph recordings, with 4 open-reel audiotape copies made from the discs, plus abstracts of eleven "Outdoors with Ed Dodd" 15-minute radio programs, which aired weekly. They focus on conservation and human interaction with the natural world, and include camping tips. The tone of the program is informal, usually consisting of a brief conversation between the show's host, Peter Roberts, and Ed Dodd, creator of the "Mark Trail" comic strip. Occasionally there are identified guests.

General Note:

Records have label from Century Recording Studios.

Provenance:

Collection donated by Tom Elliott, date unknown; Ed Dodd, July 17, 1985 and Rosemary Wood Dodd, 1985.

Restrictions:

Unrestricted research access to abstracts and audiotapes, on site by appointment. Original phonograph records not available for reference use.

Rights:

Mark Trail copyright held by North American Syndicate.

Topic:

Radio programs  Search this

Wildlife conservation  Search this

Camping -- 20th century  Search this

Comic strips -- 1940-1990  Search this

"Outdoors with Ed Dodd" (radio program)  Search this

Genre/Form:

Videotapes -- 1980-1990

Audiotapes

Phonograph records

Citation:

Ed Dodd (Mark Trail) Collection, Archives Center, National Museum of American History, Washington, DC.

Identifier:

NMAH.AC.0165

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8633b080a-b25a-4394-a2a3-e42ddbb8b4cd

EDAN-URL:

ead_collection:sova-nmah-ac-0165

Manufacturer:

Ozma Records  Search this

Materials:

Paper

Ink

Ribbon

Gold Foil

Dimensions:

3-D (Record Box, Overall): 33 × 33 × 4.4cm (1 ft. 1 in. × 1 ft. 1 in. × 1 3/4 in.)

Type:

MEMORABILIA-Miscellaneous

Country of Origin:

United States of America

Credit Line:

Gift of Lawrence Azerrad

Inventory Number:

A20210673000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9ee55a0c1-8576-4cdc-b619-dc5726bcea5c

EDAN-URL:

edanmdm:nasm_A20210673000

Maker:

Volta Laboratory Associates  Search this

Physical Description:

wood (overall material)

metal (overall material)

Measurements:

overall: 15 in x 15 1/8 in x 12 in; 38.1 cm x 38.4175 cm x 30.48 cm

Object Name:

experimental disc graphophone

experimental record player

graphophone

Place made:

United States: District of Columbia, Washington

Credit Line:

Gift of Alexander Graham Bell

ID Number:

ME.287655

Catalog number:

287655

Accession number:

57694

See more items in:

Work and Industry: Mechanisms

Communications

Hear My Voice

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a6-ab9a-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_855410

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collector:

National Museum of American History (U.S.). Division of Musical History  Search this

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

New York (N.Y.) -- 20th century

Harlem (New York, N.Y.) -- 20th century

Washington (D.C.) -- 20th century

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.

Related Materials:

Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

"

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

Jazz -- 20th century -- United States  Search this

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Creator:

DeVincent, Sam, 1918-1997  Search this

Extent:

79 Boxes

Type:

Collection descriptions

Archival materials

Date:

circa 1828-1980

Summary:

Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.

Series 3: African-American Music, contains circa 7,800 pieces of sheet music and folios dating from the 1820s to the 1980s; most of the material dates from after 1890.

An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.

Scope and Contents note:

The African-American series contains circa 7,800 pieces of sheet music and folios dating from the 1820s to the 1980s; most of the material dates from after 1890. Many of the pieces were composed or performed by Afro-American musicians; other pieces were created by white musicians using black musical styles (for example Joseph Lamb's classic ragtime compositions). A large part of the series consists of songs about African-Americans (minstrel show songs), often written in dialect and usually filled with negative stereotypes. Most, but not all, of the composers of this material were white. Subseries 3.1-3.7 are organized by musical genre and arranged by the chronological first appearance of the genre in American popular culture. The last subseries, 3.8, is a composer/performer aggregation including many musical genres but only African-American musicians.

The DeVincent Collection holds a wealth of ragtime material which forms an important part of series 3. There are approximately 530 items of vocal ragtime and approximately 2,800 instrumental ragtime items. The principle composers of ragtime have separate folders and are indexed by name (however, some of their material may be in the general ragtime folders). One of the strengths of the DeVincent ragtime file is its diversity and inclusion of lesser-known figures. Sam DeVincent built the ragtime section with a broad conception of the genre, a conception in keeping with the thinking of the time. Characteristic two-steps, syncopated marches, and some dances from the ragtime dance craze (turkey trots, a few tangos, etc.) are included in the general file indicating the widespread infusion of ragtime rhythms into American popular music during the early 20th century.

A large part of series 3 is organized and indexed by composer or performer; subseries 3.8 is solely organized this way. African-American composers who wrote only ragtime music, such as Scott Joplin, have been kept in subseries 3.6, "ragtime composers and publishers," which includes both black and white musicians.

The jazz holdings in subseries 3.7, "blues and jazz music," are quite small; most of the items are about jazz rather than the creations of jazz musicians. DeVincent organized most of his jazz materials by composer and performer. African-American jazz musicians have been incorporated into subseries 3.8. White jazz musicians are not in series 3. For help in locating jazz material in the DeVincent Collection, see the appendix "Finding Aid to Jazz Sheet Music and Ephemera."

There are four indexes in this register. The first two are for series 3: a Topical Index and a Select Name and Title Index . Following are the two composite indexes which combine the indexes of series 1, 2, and 3. These composite indexes are an important cross-reference tool.

For example, someone doing research on James Reese Europe would naturally start reading the register for series 3. The index to series 3 lists folder 3.8 BB under the heading for Europe. In the composite index, we learn that folder 2.4 XX also has a composition by Europe. Sam DeVincent placed in the Armed Forces file a piece by Europe that he wrote while serving in the Army as director of the 369th Hellfighters Band.

This series is arranged in the following subseries: 3:1 Minstrel Show and Blackface Entertainers; 3:2 Uncle Tom's Cabin; 3:3 African-American Folk-song and Spirituals; 3:4 Songs about African-American/Vocal Ragtime; 3:5 Instrumental and Ragtime Music; 3:6 Ragtime Composers and Publishers; 3:7 Blues and Jazz Music; 3:8 Composers and Performers.

Arrangement note:

Arranged in 9 subseries.

3.1: Minstrel Shows and Blackface Entertainers

3.2: Uncle Tom's Cabin

3.3: African-American Folk-songs and Spirituals

3.4: Songs about African-American/Vocal Ragtime

3.5: Instrumental and Ragtime Music

3.6: Ragtime Composers and Publishers

3.7: Blues and Jazz Music

3.8: Composers and Performers

3.9: Ephemera

Materials in Other Organizations:

Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana

This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.

Materials in the Archives Center, National Museum of American History:

Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)

Forms Part Of:

Series 3: African-American Music forms part of the Sam DeVincent Collection of Illustrated American Sheet Music .

An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.

Provenance:

This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Citation:

The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0300.S03

See more items in:

Sam DeVincent Collection of Illustrated American Sheet Music, Series 3: African American Music

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep890e4c587-014e-4836-8164-82069059301b

EDAN-URL:

ead_collection:sova-nmah-ac-0300-s03

Creator:

Anderson, William "Cat", 1916-1981 (musician)  Search this

Names:

Cat Anderson Quintet  Search this

Duke Ellington Orchestra  Search this

Lionel Hampton Orchestra  Search this

Mingus Quintet  Search this

Bechet, Sidney (musician)  Search this

Calloway, Cab, 1907-1994  Search this

Carter, Benny, 1907-2003  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Hampton, Lionel  Search this

Humphrey, Hubert H. (Hubert Horatio), 1911-1978  Search this

Humphrey, Muriel  Search this

Johnson, Lucy Bird  Search this

Johnson, Lyndon B. (Lyndon Baines), 1908-1973  Search this

Tatum, Art, 1909-1956  Search this

Webster, Ben  Search this

Extent:

5 Cubic feet (12 boxes)

Type:

Collection descriptions

Archival materials

Manuscripts

Transcripts

Oral histories (document genres)

Oral history

Phonograph records

Photographs

Recordings

Interviews

Clippings

Audiotapes

Awards

Audiocassettes

Articles

Date:

1940-1981

bulk 1963-1977

Scope and Contents note:

Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.

Arrangement:

Collection is divided into four series.

Series 1: Music

Series 2: Original tapes and recordings

Series 3: Photographs

Series 4: Miscellaneous

Biographical/Historical note:

Cat Anderson (Sept 12, 1916 - April 29, 1981) was one of the premier trumpet players of the Duke Ellington Orchestra. Known for his effortless high notes, he was a strong section leader and a great soloist whose style exhibited humor and precision. He grew up in Jenkins= Orphanage in Charleston, SC, received basic music training there, and participated in many of their famous student ensembles. He formed and played with the Cotton Pickers, a group of orphanage teens while still a young man. Before joining Ellington in 1944, he played in several big bands, including Claude Hopkins and Lionel Hampton. Anderson left the Ellington organization from 1947 through 1949 again to lead his own group. From 1959 to1961 and after 1971 Anderson free lanced, working with the Ellington orchestra intermittently. He died in 1981 after receiving honors from the US Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.

Related Archival Materials:

Related artifacts include: awards, plaques, mutes, trumpet mouth pieces, and the Jon Williams/Cat Anderson simulator in the Division of Cultural and Community Life (now Division of Cultural and Community Life). See accession: 1998.3074.

Provenance:

The collection was donated to the National Museum of American History in January 1998, by Dorothy Anderson, Cat Anderson's widow. It was acquired through negotiations with her, her brother, Mr. John Coffey and her nephew, Andrew Brazington. The materials were picked up from Mr. John Coffey of upper N.W. Washington, DC on January 21, 1998.

Restrictions:

Collection is open for research. Master tapes not available to researchers.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright status of items varies. Signed copies of releases on file.

Occupation:

Composers -- 20th century  Search this

Topic:

Music -- 20th century  Search this

Music -- Acoustics and physics  Search this

Musicians -- 20th century  Search this

Piano and synthesizer music  Search this

Inventions -- 1980-2000  Search this

Synthesizer music  Search this

Electric engineering -- 1980-2000  Search this

Band musicians  Search this

African American musicians  Search this

Jazz musicians -- United States  Search this

Inventors -- 20th century  Search this

Genre/Form:

Manuscripts -- Music -- 20th century

Transcripts

Oral histories (document genres)

Oral history

Phonograph records

Photographs -- 20th century

Recordings

Interviews

Interviews -- 1950-2000

Clippings -- 20th century

Audiotapes -- 1940-1980

Awards

Audiocassettes

Audiotapes

Articles -- 1940-1980

Citation:

William "Cat" Anderson Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0630

See more items in:

William "Cat" Anderson Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep891a9a0e4-7c4f-4956-b81e-6d65c57e1f29

EDAN-URL:

ead_collection:sova-nmah-ac-0630

Performer:

Hines, Earl, 1903-1983  Search this

Artist:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Container:

Box LP, Item 245

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Track Information:

101 Potato Head Blues / Louis Armstrong.

102 Wild Man Blues / Louis Armstrong.

103 S.O.L. Blues / Louis Armstrong.

104 Gully Low Blues / Louis Armstrong.

105 Melancholy Blues / Louis Armstrong.

106 Weary Blues / Louis Armstrong.

201 Twelfth Street Rag / Louis Armstrong.

202 Willie the Weeper / Louis Armstrong.

203 Keyhole Blues / Louis Armstrong.

204 That's When I'll Come Back to You / Louis Armstrong.

205 Alligator Crawl / Louis Armstrong.

206 Chicago Breakdown / Louis Armstrong, Earl Hines.

Local Numbers:

RA-RAMS-LP-0245

Columbia.4384

Publication, Distribution, Etc. (Imprint):

New York Columbia

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-LP-0245

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 33 1/3 RPM Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk50c19601b-0e46-4de2-9bdc-05e85165398d

EDAN-URL:

ead_component:sova-cfch-rams-ref1053

Performer:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Container:

Box LP, Item 247

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Contents:

Sweethearts on parade (4:30) -- Sugar foot stomp (2.34) -- Canal street blues (4:29) -- Bill Bailey (2:55) -- Someday you'l be sorry (4:05) -- Struttin' with some barbeque (5:10) -- I ain't gonna give nobody none of my jelly roll (4:45) -- Cornet chop suey (2:15) -- My bucket's got a hole in it (2:14).

Local Numbers:

RA-RAMS-LP-0247

Audio Fidelity.6241

Publication, Distribution, Etc. (Imprint):

Audio Fidelity

General:

Louis Armstrong med Frank Assunto, Fred Assunto, Gerald Fuller, Lowell Miller, Jac Assunto og Norman Hawley.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-LP-0247

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 33 1/3 RPM Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5211e1795-33fb-4cbf-8209-282593b019d1

EDAN-URL:

ead_component:sova-cfch-rams-ref1055

Performer:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Container:

Box LP, Item 253

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Date:

1957

Contents:

Rockin' chair -- Ain't misbehavin' -- Back o' town blues -- Long long journey -- I want a little girl -- Mahogany hall stomp -- Pennies from heaven -- St. James Infirmary -- Save it, pretty Mama -- Someday you'll be sorry -- Sugar -- Snafu.

Local Numbers:

RA-RAMS-LP-0253

RCA Victor.1443

Publication, Distribution, Etc. (Imprint):

RCA Victor 1957

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-LP-0253

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 33 1/3 RPM Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk50e0874ff-745c-40fa-aae2-26827387eb6b

EDAN-URL:

ead_component:sova-cfch-rams-ref1061

Performer:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Container:

Box LP, Item 257

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Contents:

Muskrat ramble -- You're next -- Yes! I'm in the barrel -- Gut bucket blues -- Geebie Jeebies -- Cornet chop suey -- Oriental strut -- Willie the weeper -- Lonesome blues -- Jazz lips -- I want a big butter and egg man -- You made me love you -- Irish black bottom -- The king of the Zulus.

Local Numbers:

RA-RAMS-LP-0257

Odeon.83316

Publication, Distribution, Etc. (Imprint):

Germany Odeon

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-LP-0257

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 33 1/3 RPM Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk50c7f6ccd-61f2-4c12-aef1-9b79cfe9fd2c

EDAN-URL:

ead_component:sova-cfch-rams-ref1064

Performer:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Container:

Box LP, Item 258

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Local Numbers:

RA-RAMS-LP-0258

Decca.8037

Publication, Distribution, Etc. (Imprint):

New York Decca

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-LP-0258

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 33 1/3 RPM Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5b540c988-13d7-456c-910b-f5a24234da1d

EDAN-URL:

ead_component:sova-cfch-rams-ref1065

Performer:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Container:

Box LP, Item 259

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Date:

1951

Contents:

I cried for you -- Since I fell for you -- Tea for two -- Body and soul -- Mahogany Hall stomp -- Steak face -- On the sunny side of the street -- High society -- That's my desire.

Local Numbers:

RA-RAMS-LP-0259

Decca.8038

Publication, Distribution, Etc. (Imprint):

New York Decca 1951

General:

Program notes by Ernest Anderson on container.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-LP-0259

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 33 1/3 RPM Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5a35c8abd-f04e-4148-beb3-e9c35131291a

EDAN-URL:

ead_component:sova-cfch-rams-ref1066

Performer:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 33 1/3 rpm, 12 in.)

Container:

Box LP, Item 260

Type:

Archival materials

Phonograph records

Local Numbers:

RA-RAMS-LP-0260

Decca.8041

Publication, Distribution, Etc. (Imprint):

New York Decca

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-LP-0260

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 33 1/3 RPM Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk53b51e811-e770-4485-a75c-5d217119f808

EDAN-URL:

ead_component:sova-cfch-rams-ref1067

Artist:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 45 rpm, 7 in.)

Container:

Box 78, Item 118

Culture:

Americans  Search this

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Local Numbers:

RA-RAMS-78-0118

RCA Victor.20-2087

Publication, Distribution, Etc. (Imprint):

RCA Victor (filed under Victor)

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

New Orleans jazz  Search this

Dixieland music  Search this

Trumpet  Search this

African Americans  Search this

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-78-0118

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 78 rpm Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk51e7e9055-deb7-443e-b07e-ff00e5d09cb0

EDAN-URL:

ead_component:sova-cfch-rams-ref452

Artist:

Armstrong, Louis, 1901-1971  Search this

Collection Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

1 Phonograph record (analog, 45 rpm, 7 in.)

Container:

Box 78, Item 119

Culture:

Americans  Search this

Type:

Archival materials

Phonograph records

Place:

Louisiana

United States

New Orleans (La.)

Local Numbers:

RA-RAMS-78-0119

RCA Victor.20-1912

Publication, Distribution, Etc. (Imprint):

RCA Victor (filed under Victor)

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

New Orleans jazz  Search this

Trumpet  Search this

African Americans  Search this

Collection Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS, File RA-RAMS-78-0119

See more items in:

Frederic Ramsey audio recordings

Frederic Ramsey audio recordings / 78 rpm Records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5daad66ea-dc61-4cbb-9a98-4af81aa5a4c8

EDAN-URL:

ead_component:sova-cfch-rams-ref454